We promised this last week, so here we go. Some of our favorite Jazz Mandolin professionals weighed in with their stock m7b5 Stock Chords. Remember, these "grips" can easily be moved up and down the fingerboard, so try moving them up and down a couple frets at first. Develop your transposition skills further by going even higher up the fretboard for even more versatility; nothing like being able freshen 30 chorus of comping with multiple variations of the chords. Next step is to put them in context with a subsequent V7 chord, but we'll leave that for some other time.

Two more by Paul he says he uses less frequently (a little more awkward), and a third chopbuster from Bruce Clausen. These are probably not "quick change artist" chords, but might be useful depending on song tempo and what comes before and/or after:

Will Patton throws in this strange one on the right, but again, one with the capacity to move up the fretboard.

We mentioned "context" and two different artists explored three-note chord versions that left out one of the chord voices, which is a very common thing to do in comping. (Good to learn these variations if you ever want to get into 5-string playing.) Bear in mind, using your lower three courses in comping can give you a chunkier percussive "crunch" to your chording.

The first is from Chicago jazzmaster, Don Stiernberg who opted to drop the minor 7th (keeping the root), which gives him a voice leading E into an E# on a Dominant chord variation A7Aug. Again, context is everything:
West Coast fiddler/mandolinist extraordinare, Pete Martin uses 7th (no root) and migrates to the V7 chord with a voice leading of D to C#. Then, he follow with an intriguing resolution to a Minor chord with a Maj 7th):

Have some fun learning these. If transposition is not your thing yet, feel free to download our FretboardTemplate and write these out for your own library. Sometimes physically writing them out can be a way of integrating them into your memory, both muscle and brain.